Carnatic classical Ragas & Talas
The raga-s used in Bharatha natyam, Kuchipudi and Mohiniyattam are Carnatic classical raga-s and tala-s obviously, the 35 Tala system with jaathi and Gathi bedham.
Ragas:
Carnatic music, one of the two classical music traditions of India, has a rich tradition of ragas. Ragas are melodic frameworks used to structure music in Indian classical traditions. In Carnatic music, ragas are central to the composition, improvisation, and performance. Here are a few notable Carnatic ragas:
Sankarabharanam (or Shankarabharanam or Major Scale or Natural Notes or Suddha Swaras or Bilal): This is one of the fundamental ragas in Carnatic music. It is a heptatonic (sampoorna) raga, meaning it contains all seven swaras (musical notes) in both ascending (aarohanam) and descending (avarohanam) scales. Its scale corresponds to the Western major scale. Sankarabharanam is often used as the starting point for learning Carnatic music.
Kalyani (or Kharaharapriya): Known as the "Raga of Prosperity," Kalyani is another important and popular raga. It is a morning raga and is associated with devotion and auspiciousness. Kalyani is a heptatonic raga, similar to Sankarabharanam, but it has unique phrases and ornamentations that distinguish it.
Bhairavi: Bhairavi is a powerful raga associated with love and devotion. It is a pentatonic (audava) raga, meaning it has five notes in both ascending and descending scales. Bhairavi is often performed at the conclusion of a concert, especially in devotional contexts.
Thodi (or Todi): Thodi is a complex and profound raga that evokes deep emotions. I/t is known for its meandering and intricate melodic phrases. Thodi is a sampurna raga but has unique gamakas (ornamentations) that give it its characteristic flavor.
Mohanam (Bhupali): Mohanam is a soothing and melodious raga used in both Carnatic and Hindustani music. It is often associated with love and romance. Mohanam is a pentatonic raga and is characterized by its simplicity and sweetness.
Kambhoji: Kambhoji is a vivacious and lively raga that is popular for improvisation. It is a sampurna raga with a distinctive pattern of ascent and descent. Kambhoji is often used in the performance of fast-paced compositions and rhythmic improvisations.
These are just a few examples, and there are hundreds of ragas in the Carnatic music tradition, each with its own unique mood, characteristics, and associations.
Friendly Ragas
Get introduced to 5 beginner friendly Ragas that can develop a strong foundation in Raga understanding
Shankarabarnam
Mohanam
Hamsadhwani
Mayamalavagowla
Hindolam
Compositions and their Ragas
Dasharatha Nandana
Rama and the monkey army
Meet Rama and his army of Monkeys
Based on Raga Kapi
Priya Ganapathy
Ganesha's Disguise
Learn about the time Ganesha tested the old lady with a disguise
Based on Raga Hamsadhwani
Shooladhaari Shankara
Shiva and Bilva leaves
A gripping tale of Shiva & his fondness for Bilva leaves
Based on Raga Bowli
Hey Shivashankari
The multi faceted Durga devi
Learn the many names of Goddess Durga
Based on Raga Bowli
Muralidhara
Krishna and his talents
Meet the talented little Krishna with his flute
Based on Raga Hindolam
Guru Dev
An ode to the Guru
A tale of Ganesha's sincerity and respect for his Guru
Based on Raga Bibhas
Gajamukha Natha
The elephant headed Ganesha
Learn how Ganesha got his elephant head
Based on Raga Yaman
Shankari Dayakari
The brave and kind Durga
Meet the brave and kind Durga Devi
Based on Raga Hamsadhwani
Ram Kaho
The Ram-Shyam duo
Meet the star duo - Rama & Krishna
Based on Raga Charukesi
Paapa Vinashaka
Celebrating the Guru
An ode to the Guru through this beautiful melody
Based on Raga Yaman
Ragas in Kuchipudi
Ahiri is a popular raga in Kuchipudi style operas. The rhythmic structure of the Darus in Kuchipudi resembles Kritis, and some are composed in different speeds and gathis. The pure abstract dance parts of Kuchipudi, called nritta, may include parts such as darus, jatis, jatiswarams, tirmanas, and tillanas.
In the Kuchipudi tradition, we find the following ragas used exclusively:
- Nata,
- Mohana,
- Saurashtra,
- Arabhi,
- Kamas,
- Madhyamavati,
- Anandabhairavi,
- Todi,
- Kamboji,
- Mukhari,
- Pantuvarali,
- Devagandhari etc.
The main ragas are mohana, Ananda Bhiravi, Mukhari, DevaGandhari, Yadukula kambhoji, madhyamavathy, Nata, suruti. Some rare ragas are also used like kuranji, Ahiri, Saindhavi, Navaroju and Sokavarali.
Talas:
In Carnatic music, talas are rhythmic cycles that provide the framework for percussion accompaniment and rhythmic improvisation. Talas are characterized by a specific number of beats and the arrangement of strong and weak beats within a cycle. Here are some common talas in Carnatic music:
Adi Tala: Adi Tala is the most common tala in Carnatic music, and it is often used as the default tala for compositions. It has eight beats divided into four laghus (units), with each laghu consisting of four matras (beats). The pattern is sam (1), dha (2), mi (3), ta (4), sam (5), dha (6), mi (7), ta (8).
Rupaka Tala: Rupaka Tala is a simple tala with six beats divided into two equal parts. It is commonly used in compositions and is characterized by its lilting and graceful rhythm. The pattern is sam (1), dha (2), dhi (3), dha (4), dhi (5), dha (6).
Misra Chapu: Misra Chapu is a tala with seven beats, divided into two parts of 3 and 4 beats respectively. It is a versatile tala and is often used for improvisation and rhythmic variations. The pattern is sam (1), ta (2), ki (3), ta (4), ta (5), ki (6), ta (7).
Khanda Chapu: Khanda Chapu is a tala with five beats, and it is characterized by its asymmetrical division of beats. It is commonly used in compositions and rhythmic improvisations. The pattern is sam (1), ta (2), ki (3), ta (4), di (5).
Mishra Jhampa: Mishra Jhampa is a tala with ten beats, divided into three parts of 3, 2, and 5 beats respectively. It is a complex tala and is often used for elaboration and rhythmic virtuosity. The pattern is sam (1), ta (2), ki (3), ta (4), di (5), na (6), ta (7), ki (8), ta (9), di (10).
Chatusra Eka Tala: Chatusra Eka Tala is a tala with four beats and is used in compositions and rhythmic improvisations. It is characterized by its simplicity and stability. The pattern is sam (1), dha (2), mi (3), ta (4).
These are some of the common talas in Carnatic music, but there are many more talas with different beat patterns and structures, each providing a unique rhythmic framework for musical expression.
Talas are rhythmic beats or cycles in Carnatic music that regulate the composition of ragas. They are a fundamental element of Indian music and can be traced back to the Vedic era. Talas are characterized by ten features, also called Tala Dasapranas, including Anga, Jati, Kriya, and Kaala. Anga means part or limb, Jati means kind or type, Kriya means the physical action or act of counting time by utilizing gestures, and Kaala refers to duration.
Talas in Carnatic Music are the measure of time or the rhythm cycle, which sometimes literally means clapping hands to produce music. Talas, rhythmic beats or strikes, are considered the regulating factor in a composition of ragas and are, therefore, one of the fundamental elements of Indian music. Talam in Carnatic music forms the life cycle in a musical composition embracing the time meter. However, it may or may not imply repetition. Let's understand more about the Carnatic tala system, i.e. talas in Carnatic music.
There are seven basic tala structures, known as the suladi sapta talas, which are dhruva, matya, jhampa, ata, rupaka, eka, and triputa. Each one of the seven talas can be changed by using a different jathi each time. The default jati associated with each tala family is:
Dhruva tala: chaturasra jati
Matya tala: chaturasra jati
Rupaka tala: chaturasra jati
Jhampa tala: misra jati
Triputa tala: tisra jati
Ata tala: kanda jati
Eka tala: chaturasra jati
The beat cycle of a tala ranges from simple to intricate, depending on the needs of the melody. The most common tala is in 16 beats.
Youtube Videos:
https://www.sahapedia.org/kuchipudi-0#:~:text=In%20the%20Kuchipudi%20tradition%2C%20we,Mukhari%2C%20Pantuvarali%2C%20Devagandhari%20etc.
https://sandhyapatrike.com/2021/11/02/music-in-kuchipudi-veena-murthy-vijay/
https://timesofindia.indiatimes.com/city/pune/yaminis-kuchipudi-dance-recital-ragas-hemant-purva-scintillate/articleshow/106056616.cms
https://www.ipassio.com/blog/list-of-ragas-in-indian-classical-music
https://www.ipassio.com/blog/list-of-ragas-in-carnatic-music
https://www.ipassio.com/blog/indian-ragas-defining-its-structure-form-soul
https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/international/rhythm-and-raga/
https://india.serenademagazine.com/music-education/music-education-basics/the-role-of-ragas-in-indian-classical-music-understanding-the-basics/
https://sancgcmd.com/courses-offered/
No comments:
Post a Comment